In 2004, the New York-based artist Reena Spaulings emerged from the daily operation of an art gallery (Reena Spaulings Fine Art, founded by John Kelsey & Emily Sundblad) on Manhattan’s Lower East Side. Often playing on the double-identity of art dealer and artist, Spaulings’ work undermines professional divisions of labor and disciplinary hierarchies, while interrogating accepted notions of individual authorship and agency.

For her first solo show «The One & Only», 2005, Reena Spaulings presented a series of hybrid painting/sculptures in the form of wall-mounted flags. Using the kind of readymade flagpoles commonly seen on suburban American house fronts and small New York business-fronts, this gesture could be read as more of an occupation than an installation, claiming a territory in another dealer’s Chelsea gallery in order to problematize the protocols by which dealers «represent» artists and their work.

Reena Spaulings has also produced publications, performances and underground dance music. Reena Spaulings Fine Art is located on Manhattan’s Lower East Side. (


MoMA, The Museum of Modern Art, New York

Whitney Museum of American Art, New York

FRAC, France (Fonds Regional d’Art Contemporain)



2017 «HER AND NO. Reena Spaulings», Museum Ludwig, Cologne

2016 «Pont du Carrousel», Galerie Chantal Crousel, Paris

2015  «Later Seascapes», Galerie Neu, Berlin

2014 «Later Seascapes», Campoli Presti, London

2013 «Reena Spaulings», Galerie Neu, Berlin

2012 ;-), Galerie Chantal Crousel, Paris

2011 «More Michael Paintings», Indipendenza Studio, Rome, Italy

«Michael», Boltenstern.Room, Galerie Meyer Kainer, Vienna, Austria 2010 «Reena Spaulings», Galerie Daniel Buchholz, Berlin

2010 «Reena Spaulings», Galerie Daniel Buchholz, Berlin

2009 «Reena Spaulings / Marcel Broodthaers», Art|Basel|Miami Beach, Art Positions

«The Belgian Marbles», Sutton Lane (Campoli Presti), Brussels

2008 Contemporary Art Museum, Saint Louis, USA

«Courbet your enthusiasm», Galerie Chantal Crousel, Paris

2007 «How To Cook a Wolf», Kunsthalle Zurich

2006 «Bialystoker», Sutton Lane (Campoli Presti), London

2005 «The One & Only», Haswellediger & Co. Gallery, New York, January – March



2017 «Infected Foot», Greene Naftali, New York

2016 «La collection Thea Westreich Wagner et Ethan Wagner», Centre George Pompidou, Paris

«Group Exhibition», Campoli Presti, Paris

«Exquisite Corpse», Galerie Chantal Crousel at The Mistake Room, Los Angeles

2015 «Collected by Thea Westreich Wagner and Ethan Wagner», Whitney Museum of American Art, New York 

«Painting 2.0: Expression in the Information Age», Museum Brandhorst, Munich 

«Enigmas: Martin Barré, David Ostrowski, Julian Schnabel, Reena Spaulings», Andrea Rosen, New York, NY

«Open Source: Art at the Eclipse of Capitalism», Max Hetzler gallery, Berlin 2014

«Galerie Neu at Gladstone Gallery», Gladstone Gallery, New York, NY

2013 «Coulisses» FRAC Aquitaine, Bordeaux, France

2012 «La peinture sans les peintres», Villa du Parc, centre d’art contemporain, Annemasse, France

«Intérieur jour», Galerie Chantal Crousel, Paris

«Superbody», Galerie Chantal Crousel, Paris

«Looking back for the future», Campoli Presti, Kunsthalle Zürich, Switzerland

«Context message», Zach Feuer Gallery, New York

«Coûte que coûte», Hangar-Umam, Beirut, Lebanon. 2011 «Dystopia», CAPC Bordeaux

2011 «Dystopia», CAPC Bordeaux «Nature morte vivante», Galerie Chantal Crousel, Paris 2010 «La Règle du jeu», Galerie Chantal Crousel, Paris

«Systems Analysis», West London Projects, London(touring to Langen Foundation, Germany)

«Where Do We Go From Here?« Selections from La Colección Jumex, CAC, Cincinnati Contemporary Arts Center, Cincinnati, OH

«Signatures», Sutton Lane (Campoli Presti), Paris

«Pop Life: Art in a Material World», National Gallery of Canada, Musée des beaux-arts du Canada, Ottawa, ON

«Seconde main», Musée d´Art Moderne de la Ville de Paris – MAM/ARC, Paris

«Endless Summer / Surf Elsewhere», BLUM & POE, Los Angeles

«The Evryali Score», David Zwirner, Inc., New York

«GNY: Rotating Gallery 1», P.S.1 Contemporary Art Center, New York

«So Be It: Interventions in Printed Matter», Andrew Roth Gallery, New York

«Michael Krebber / Reena Spaulings», Galerie Daniel Buchholz, Berlin

«Pop Life: Art in a Material World», Hamburger Kunsthalle, Hamburg

«Almeria», curated by Nicolas Chardon, Julen Fronsacq, Niklas Svennung, Galerie Chantal Crousel, Paris Greater New York, P.S.1, New York

«Sonic Youth etc.: Sensational Fix», CA2M – Centro de Arte Dos de Mayo, Móstoles

Galerie Daniel Buchholz, Cologne

2009 «Here Is Every». Four Decades of Contemporary Art, MoMA – Museum of Modern Art, New York, USA

«Looking Back: The White Columns Annual», selected by Primary Information, White Columns, New York

«Pop Life: Art in a Material World», Tate Modern, London

«White Noise», James Cohan Gallery, New York

«Sonic Youth etc.: Sensational Fix», Malmö Konsthall, Malmö

2008 «Painting Now and Forever, Part II», Carol Greene and Matthew Marks, New York

«Mehringdamm 72», MD72, Berlin

«L’argent», Le Plateau / Frac Ile-de-France, Paris

«Some Neighbors», Kunstverein Muenchen, Munich

«Records played backwards», The Modern Institute, Glasgow

2007 «945 + 11», Frac-Collection Aquitaine, Bordeaux

«24 November – 22 December», Sutton Lane (Campoli Presti), Paris

«For the People of Paris», Sutton Lane (Campoli Presti), Paris

«Terrible Video», Kunsthalle Zurich

«Someone else with my fingerprints», Galerie Chantal Crousel, Paris

«Otra De Vaqueros», Bâtiment d’art contemporain, Geneva

«Make Your Own Life», Museum of Contemporary Art, Miami

«Uncertain States of America», CCA Ujazdowski Castle, Warsaw

«Make Your Own Life», Henry Art Gallery, Seattle

«For the People of Paris», Sutton Lane (Campoli Presti), Paris

2006 «Make Your Own Life: Artists in and out of Cologne», Institute of Contemporary Art, University of Pennsylvania, April

«Beware of a Holy Whore», Galerie Chantal Crousel, Paris

«Bring The War Home», Elizabeth Dee Gallery, NY/LA, June 2006

«Make Your Own Life» (curated by Bennett Simpson), ICA, Philadelphia, April 2006.

«Whitney Biennial 2006: Day For Night»», Whitney Museum, NYC

«Painters Without Paintings & Paintings Without Painters» (curated by Gareth James), Orchard, NYC

2005 Tbilisi2 (curated by Daniel Baumann), Tbilisi (Georgia)

«The Baltic Triennial 2005 – Black Market Worlds», CAC, Vilnius

«Concrete Castle, Le Confort Moderne», Poitiers, France

«Lesser New York», curated by Fia Backstrom, NYC

2004 «Publish and Be Damned», Cubitt Gallery, London

«Robert Smithson», Reena Spaulings Fine Art, New York

«Curious Crystals», PS1/MoMA, New York



2016 Béatrice Gross. «Le collectif, artiste contemporain», Art Press 2, February-March-April, 2016, pp.36-43

2015 Reena Spaulings, «Later seascape», ArtAgenda, March 4

«Painting by robot vacuum cleaner: Reena Spaulings at Galerie Neu», Sleek Magazine, February 10

Martin Herbert. «The Fictional Artist», Spike Art Daily, November

Karen Archey. « Reena Spaulings: Later Seascapes », Even, SummerN°1, pp. 17-24

2012 Claire Moulène. «Occupy New York. Une vision de Big Apple déclinée sur fond de trompe l’oeil et de cartons à pizza», Les Inrockuptibles, N° 840, 4 January 2012

2010 Lewis, David, «Reena Spaulings: Sutton Lane», Artforum, February

2009 Lorent, Claude, “Dans quel jeu jouons-nous”, La Libre Belgique, Numero 34, Semaine du 30, Octobre au 5 Novembre

2007 Bankowsky, Jack, «Ciao, Rensselaerville,» Richard Prince, The Solomon R. Guggenheim Foundation, New York, pp. 334-348.

Saltz, Jerry, «Has Money Ruined Art?,» New York, October

Leung, Cynthia, «Reena Spaulings,» The Outlook, Beijing, Summer

Funcke, Bettina, «Gallery Walks,» Texte zur Kunst, June

«About Town,» Art Review, June 2007.

Zucker, Seth, «Reena Spaulings,» Self-Service, Spring/Summer

Mulvihill, Keith, «Art Attack,» jetStyle in-flight magazine, Spring

Funcke, Bettina, «Displaced Struggles,» Artforum, March

2006 Stillman, Nick, «Reena Spaulings: an Art Brand,» Flash Art, May

Birnbaum, Daniel, «2006 Whitney Biennial,» Artforum, May

Maine, Stephen, «Down East,» Art in America, May

Huberman, Anthony, «Reena Spaulings,» 02, Paris, Spring

Kohler, Andrea, «Die Kunst der Konfusion,» NZZ Online, March 10

Cotter, Holland, «The Collective Conscious,» The New York Times, March 5

Weiner, Emily, «Blurred Identities,» Time Out New York, Feb. 23- March 1

Smith, Roberta, «Who Needs a White Cube These Days?», The New York Times, Jan. 13

Griffin, Tim, «Cabaret License,» Artforum, January

Russell, Jacob Hale, «The Invisible Artist,» The Wall Street Journal, Dec. 31

Stevens, Mark, «Who Are These People?,» New York Magazine, December

2005 Rimanelli, David, «On the Ground: New York,» Artforum, December

«The New Cultural Elite: Best of 2005,» New York Magazine, December

Wei, Lilly, «New York, la secousse,» Art Press, October

Schambelan, Elizabeth, «Seth Price,» Artforum, Summer

Gingeras, Allison, «Scene & Herd in Basel,», Summer

«Reena Spaulings,» Grand Street News, March

Cotter, Holland, «Reena Spaulings,» The New York Times, Feb 4

«Reena Spaulings»,, January

«Reena Spaulings»,, January

2004 «Best of 2004», Time Out New York, Dec 30 2004 Ð Jan 5

Cotter, Holland, «Oh, The Year This Could Have Been», The New York Times, Dec 26

Harris, Jane, «The Very Idea», Time Out New York, Aug 5 Ð 12

James, Gareth, «Hunde Und Diplomate», Texte Zur Kunst, Berlin, Summer

Funcke, Bettina, «Andy WarholÕs Aufhebungen» Texte Zur Kunst, Berlin, Summer

Griffin, Tim, «EditorÕs Letter,» Artforum, May



«How To Cook a Wolf» at Kunsthalle Zurich. A year-long curatorial project dealing with the use of fictional and double identities in contemporary art.

«Lee Williams» – ongoing: An artist-persona created by Jutta Koether & Emily Sundblad.

«Grand Openings» – ongoing: A performance project by Ei Arakawa, Jutta Koether and Emily Sundblad. Versions have been presented at Anthology Film Archives, NYC and in Tblisi, Georgia.

«A Night of Country» (2004 …“ present): An ongoing country music performance project in collaboration with playwright Richard Maxwell.

White Light/White Heat (2004): A CD box set remake of the Velvet Underground album, featuring Barbara Sukowa, Rita Ackermann, Seth Price, Emily Sundblad, Gang Gang Dance and others.

«All The King’s Horses» (2004 …“ 2005): A bootleg translation of Michale Bernstein’s 1959 novel Tous les Chevaux du Roi.

Group exhibition celebrating Thea Westreich and Ethan Wagners donation to the Whitney and Pompidou

09 Jun, 2016-15 Jul, 2016

Campoli Presti, Paris

Art / Basel

16 Jun, 2016-19 Jun, 2016

Basel, Switzerland